I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears
I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!
The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.
More:
Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.
Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)
Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.
Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.
Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.
The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.
They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.
And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.
I could go on, but this is already so long. But yeah, I hope this gave you an idea.
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Nightmare of Nightmares
a tiny Roommates/Cellmates AU fic to take a break from writing Prime Meridian and bc im thinking abt them. takes place mmmm definitely within a few months of the events of Shared Living Space. Cell is just starting to become a more-or-less 'common' fixture in Felps' apartment, staying for as long as two days at a time before heading out again. he spends a majority of his time out doing...whatever it is he does when he's not at Felps' apartment. it's not uncommon for Felps to see Cell show up at odd hours with a new bruise or bandage wrapped somewhere, and sometimes Cell walks in with a grin that's just a bit too wide, even for him. Felps tries not to think about it too much.
(TWs: nothing really? there's some vague descriptions of violence that aren't that graphic save for like one well-detailed threat. it's brief tho. and references/allusions to cannibalism because obviously.)
It's the middle of the day on a lazy Sunday, and Cell has been tossing and turning on the couch for the past several minutes. He’s not typically a restless sleeper—quite the opposite, actually—so it’s strange for Felps to see him shifting around, restlessly tilting his head side to side.
Felps figures he must be dreaming, or something like it. What does someone like Cell dream about, anyway? Probably eating Felps, or putting Felps' head on a pike. Or eating Felps and putting his head on a pike. Or just murdering people in general. He must get a real kick out of that. Felps shrugs it off and continues working, reclined in the armchair and sorting through his email. Whatever Cell is dreaming about will pass eventually.
And then he whines.
Felps pauses and blinks for several seconds, processing that yes, there was a noise, yes, it was a whine, and yes it most certainly came from Cell. Felps glances up from his laptop again to look at the known murderer sleeping his couch. He's still shifting around, perhaps a little more animatedly than before. He settles for a moment, and Felps can see his eyelids twitching. Another half-whine, half-groan wheedles out of his throat. His lips move, barely parted, but whatever Cell might've said is much too soft for Felps to hear, if he said anything at all.
A few seconds pass. Then, Cell's face briefly twists, his lips moving again; and though it's still hard to decipher, Felps isn't certain that it's actual words that he's speaking. His chest heaves a few times, he makes another small noise, and he murmurs something again—no. Those...sound like they could be words. Garbled, but words nonetheless. Not Portuguese, though. It might be another language. (Cell speaks some English, doesn't he?) Or maybe it is just gibberish, Felps really can't tell; but whatever it is, it sounds urgent. Very urgent. And Cell is starting to breathe harder.
Huh. Felps starts to consider trying to wake him up before he shoots that thought down immediately. Why even bother? And he knows for a fact that Cell sleeps with a weapon under his arm—Felps can see it now, a small blade revealed in all of his tossing—and Felps doesn't want to wind up on the wrong end of it if Cell wakes up swinging.
Still, Felps' email has become an afterthought at this point. Felps watches, almost amazed, as Cell continues to toss more violently than before, breathing harder to the point of gasping, voice high and reaching and cracking and begging—
A shout. Cell's eyes fly open as he shoots up and yep there goes the knife arcing through open air. He's got a hand braced on the side of the couch as he bares his teeth at some middle distance, panting like he's just sprinted several miles. There's a thin sheen of sweat clinging to his face. Cell is sporting a furious expression so tense and wild that Felps—if he didn't know any better—would say pitches over to the other end of the curve and lands somewhere in the realm of terrified.
Cell, the murderer, the cannibal, the nightmare of so many people's dreams, just woke up screaming from a nightmare. It's almost novel, but Felps supposes that Cell is still just a human. And humans, people, get nightmares. Basic psychology. Though, it's hard to imagine Cell to be really, truly afraid of anything in particular aside from, possibly, getting caught by the police and being hauled back to Alcatraz. (Once in Alcatraz, he would end up spending quite the stint in solitary—one of the only things they found that could actually get Cell to behave, if only for a little while.)
A beat passes. Cell's eyes dart frantically, but it doesn't look like he's really seeing anything. He's still gasping. His legs have kicked away the towel Felps makes him put his feet on when he's sleeping, instead digging the heels of his boots into the cushions and pushing himself back against the arm of the couch, knife still in hand.
Felps hasn't exactly woken up fighting before, but he's had his fair share of nightmares. He knows how disorienting they can be. Best not to have the guy with the weapon and the horribly violent impulses forget where he is. Felps clears his throat. "Hey Cell."
Cell snaps his head towards Felps. He blinks several times. He stars at Felps, and he looks around the room...
...And his breathing starts to slow. And his shoulders start to slump. And the fury-terror starts to melt away. And the hand brandishing his knife drops into his lap.
And Cell is quiet. No threats, no growl. He just stares at the floor and drags a hand down his sweat-soaked face and breathes—something like relief. It's eerie, coming from Cell, and Felps, frankly, doesn't know what to make of it.
"So," Felps says. "The Monster of Alcatraz gets nightmares, huh?"
A beat. Then, Cell scoffs at him. "Inspiration," he snarls, voice dripping with venom despite his breathlessness and sleepy croak. "For when I carve out your guts and drag your entrails across the floor, Felps."
Felps raises an eyebrow. "You know, you could just tell me you want to be left alone."
"Fuck off."
"See, there we go." Felps closes his laptop and glances at the clock on the wall: just past twelve. "Eh, actually, before I do that—are you planning on staying for lunch?"
Cell makes a vague noise. He runs his free hand through his messy hair and scrubs one of his eyes with the heel of his palm. He sighs heavily, like a half-aborted yawn.
"...Yeah," he eventually decides.
"Did you bring me anything?"
Felps knows he did. Felps won't make him anything if he doesn't pitch in somehow—one of their new 'rules'—and Cell's backpack is looking a little more full than usual. In lieu of an answer, Cell picks up his bag from where it's slumped against the foot of couch and drags it into his lap, rummaging through it. Felps, meanwhile, stands, dumps his laptop on the armchair, stretches, and grabs the TV remote. A moment later, Cell produces a small paper bag and holds it out to Felps.
Felps crosses the living room and peeks inside: tomatoes and lettuce, in decent enough condition. Felps has certainly used worse. He could add in some of his carrots, chop them up, put some dressing over it and make it a salad. Rice and some seasoned meat (chicken—no red meat allowed when Cell is present) to go with it could be nice.
"This works." Felps grabs the bag. Cell lets him have it, and Felps tosses him the remote. "Your pick. And either fix the towel or boots off the couch."
Cell huffs, but he swings his legs around without protest, boots on the floor. As he flicks through channels, Felps brings the produce into the kitchen and opens up the fridge. He pushes aside his own tomatoes and lettuce to get to the carrots.
Sometime later, Felps finishes putting together lunch and brings a couple plates into the living room. There, he finds Cell curled up on his side, fast asleep yet again—no tossing or turning this time, though. Just sleeping.
Felps rolls his eyes with a sigh. He puts the extra portion down on the coffee table, lowers the volume on the TV just a bit, heads back into the kitchen, and returns with a cover for the plate.
(A nightmare having a nightmare. What could Cell be so scared of?)
(Well, whatever it is, Felps hopes he never has to meet it.)
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So Ronan the dragonborn cleric has his journal and a habit of drawing. Alongside his dry recounts of the day, the more spicy prose written in draconic that frustrates his nosey companions, and simplistic stick figure diagrams of action he can't draw properly, are more detailed sketches. These sketches are generally reserved for animals or plants, especially flowers, he happens across and enjoys, jotted down to the best of memory alongside the words written about the days events.
But between those, every now and then, are drawings of people, most notably people he finds important in some way. These sketches aren't hyper realistic or artful as his capabilities are amateur at best, but they are detailed and good enough you would recognize who they were depicting. He's not trying to become a master of the art, but just good enough that he can have a visual reminder of someone if they should leave him or pass away.
Sometime during Act 2, after the conversation with the mirror about Astarion not remembering what he looks like but before he confesses to feeling something more, Ronan notices his journal is missing. Again. It happens often enough that he's not worried, but he would like it back so he does the rounds around camp to see which sticky-fingered companion took it tonight.
After checking with nearly everyone save Wyll, Ronan finds Astarion a little ways away from everyone, sat near a torch and hunched over conspicuously. Upon silently walking up to him, standing just behind him, Ronan waits just a few moments until his presence is felt. Predictably, Astarion jumps to his feet, hand going for a dagger with the journal clutched to his chest as he whips around to face his would be assailant.
Of course, it's just Ronan and Astarion sighs in a melodramatic relief, commenting that they should perhaps bell the dragonborn when he isn't in his horrendously loud armor. Ronan grunts, holding out a hand expectantly and what follows is a rather typical back and forth as Astarion teasingly mentions all the 'dirty little secrets' he's supposedly gleaned from the journal while Ronan steadfastly asks for the damn thing back as he'd like to make an entry and get to sleep. But something's off, as usually after a minute or two the leather bound book is halfway into Ronan's hand, being pulled away a time or two, yet Astarion is keeping it close to himself, as if reluctant to give it back.
Ronan notices, interrupts Astarion in midst of being complained at over his assessment of the rogue's battle performance to ask if everything is alright. For a moment, Astarion says yes, of course, well as good as he can be starving and exhausted in the middle of this godforsaken place but-
And he stops, chewing on his lip, troubled as he opens the journal again to flip to the page he'd had his thumb wormed into this whole time. He touches his face and Ronan can feel what's coming before Astarion opens his mouth to ask if the person on the page is him. He doesn't even need to see the sketch Astarion shows him; there's a lot of the elf drawn in that journal.
Ronan nods and then immediately mutters something akin to an apology that his artistic talent is lacking, receiving a joke about how Astarion certainly wouldn't hang anything he's drawn by his bedroll that trails off. Then he's silent for a moment, taking the journal back to stare down at the page before he supposes it's the best he'll get. It's a want for a way to help that strikes Ronan as he watches, struggling with what to say and wishing he had some way to alleviate that grief, to show him-
But there is a way to show him, isn't there?
It takes some convincing and a promise to not probe into Astarion's thoughts, but eventually a reluctant vampire is standing illuminated in a holy daylight summoned eagerly for just the occasion. He's instructed to close his eyes as Ronan crouches down to get the best view he can and takes Astarion's hand to press his palm to a scaley temple. The connection is immediate, Astarion's sight filled with a clear picture of himself, of a face he hasn't seen in centuries mirrored perfectly through Ronan's steady and concentrated gaze.
He's given as much time as he needs, Ronan seemingly happy to stare at him as he takes it all in. There's something filtering through the cleric's ironclad concentration, made only more apparent at every observation and joke Astarion makes while refamiliarizing himself with himself. Words and phrases pop into mind, squashed before they complete like the sound of them being thrust underwater to muffle and become incoherent.
Comments about his features, about his voice, about the hand still curled against Ronan's temple, about how close they are. Noachi, that draconic nickname Ronan's given him that he still has no idea the meaning of, thought less like a word and more like a fond prayer floating through as Ronan chuckles at some quip Astarion makes about not remembering his chin being like that. But there's another thing that Ronan can't seem to stop coloring his perception and his thoughts.
It's not a word or a phrase or even a picture. Merely a feeling, a warmth, deep and radiating, growing stronger and stronger the longer Ronan is staring at Astarion. So much so, it colors the picture he's presenting as a glow emanates around Astarion that has nothing to do with the magical daylight or the nearby torch or anything about himself, as if that warmth Ronan is feeling is warping his very sight.
And it's a feeling that Astarion recognizes, has tried not to recognize for a little while now, ignoring and writing it off and burying it at every turn. A feeling that answers back within him and that shakes him. Frightens him enough, he takes his hand away, opens his eyes to break the connection.
Astarion thanks him, kind of, inbetween commenting that he hopes Ronan is happy he's probably satisfied his need to stare at Astarion for the evening before actually saying something that amounts to gratitude. It gets him another chuckle, and Ronan bows his head with a little smile, telling him 'anytime, noachi' before leaving Astarion alone. The daylight fades away to nothing and Astarion is left by the torch, watching Ronan take his journal to the rest of the rest of camp as he touches his face, lost in thought.
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